DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2]^S hrs (35c) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs (3Sc) 15 

All a Mistake, 3 acts, 2 hrs. 

(35c) 4 4 

All on Account of Pollv, 3 acts, 

2M hrs (35c) 6 10 

And Home Came Ted, 3 acts, 

234 hrs. ., (50c) 6 6 

Arizona Cowboy, 4 acts, 2^ 

hrs (35c) 7 5 

Assisted by Sadie, 4 acts, 2^ 

hrs .-...(50c) 6 6 

As a Woman Thinketh, 3 acts, 

21^ hrs (35c) 9 7 

At the End of the Rainbow, 3 

acts, 2^ hrs (35c) 6 14 

Betty's Last Bet, 3 acts, 2% 

hrs (50c) 5 6 

Black Heifer, 3 acts, 2 hrs. 

(25c) 9 3 

Boy Scout Hero, 2 acts, \Y± hrs. 

(25c) 17 

Boy Scouts' Good Turn, 3 acts, 

Wa hrs (25c) 16 2 

Busy Liar, 3 acts, 2^4 h. (25c) 7 4 
Cabin Courtship, 3 acts, 2 hrs. 

(35c) 5 4 

Call of Wohelo, 3 acts, 1^ 

hrs (25c) 10 

Civil Service, 3 acts, 2V4 hrs. 

(35c) 6 5 

Clubbing a Husband, 3 acts, 

2 hrs (35c) 12 

College Town, 3 acts, 21^ 

hrs (35c) 9 8 

Deacon Dubbs, 3 acts, 2i/4 hrs. 

(35c) 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(35c) 6 4 

Dream of Queen Esther, 3 acts, 

2Va hrs (35c) 3 16 

Dream That Came True, 3 

acts, 2^ hrs (35c) 6 13 

Early Bird, 3 acts, 2}4 hrs. 

(35c) 7 7 

Editor-in-Chief, 1 hr (25c) 10 

Empty House, 3 acts and epi- 
logue, 2^ hrs (35c) 6 8 

Evervvouth, 3 acts, IJ^ h. (25c) 7 6 
Fifty-Fifty, 3 acts, 2J4 hrs. 

(50c) 5 5 

For the Love of Johnny, 3 

acts, 2^ hrs (50c) 6 3 

Fun on the Podunk Limited, 

\Vi hrs (30c) 9 14 

Fun _ Revue, 2 hrs (35c) Optnl. 

Gettin' Acquainted, 25 min. 

(35c) 1 2 

Gold Bug. 4 acts. iVj hrs. . (50c) 7 7 



M. F. 

'Her Honor, the Mayor, 3 acts, 

2 hrs (35c) 3 5 

High Brown Breach of Prom- 
ise, 1 hr (30c) 16 

Indian Days, 1 hr (50c) 5 2 

In Hot Tamale Land, 2 acts, 

2 hrs (35e) 6 4 

Jayville Junction, IJ^ hrs. (30c) 14 17 
Kicked Out of C;ollege, 3 acts, 

2Vx hrs (35c) 10 9 

Kingdom of Heart's Content, 3 

acts, 2^ hrs (35c) 6 12 

Laughing Cure, 2 acts, 1^ hrs. 

(35c) -4 5 

Lie That Jack Built, 1 act, 30 

min (35c) 2 2 

Lighthouse Nan, 3 acts, 2^4 

hrs (35c) 5 4 

Little Clodhopper, 3 acts, 2 

hrs (35c) 3 4 

Mary's Millions, 3 acts, 2J4 

hrs (50c) 5 6 

Mirandy's Minstrels (30c) Optnl. 

Mrs. Tubbs of Shantytown, 3 

acts, 214 hrs (35c) 4 7 

My Irish Rose, 3 acts, 2J4 hrs. 

(35c) 6 6 

Old Maids, 3 acts, 2 hrs.. . (50c) 5 8 
Old School at Hick'ry Holler, 

1^4 hrs (30c) 12 9 

Poor Married Man, 3 acts, 2 

hrs (35c) 4 4 

Prairie Rose. 4 acts, 2V-2. h.(35c) 7 4 
Real Thing After All, 3 acts, 

214 hrs (35c) 7 9 

Royal Cut-Up, 2 acts, 2 hrs. 

(35c) 7 3 

Rustic Romeo, 2 acts, 2^ 

hrs ..(35c) 10 12 

Ruth in a Rush, 3 acts, 2Vx 

hrs (35c) 5 7 

Safety First, 3 acts, 

214 hrs (35c) 5 5 

Southern Cinderella, 3 acts, 2 

hrs (35.C) 7 

Spell of the Image, 3 acts, 2^4 

hrs (35c) 10 10 

Star Bright, 3 acts, 2^4 h. (35c) 6 5 
Thread of Destiny, 3 acts, lYz 

hrs (35c) 9 16 

Trial of Hearts, 4 acts, 2J4 hrs. 

(3Sc) 6 18 

Trip to Storyland, 154 hrs. (25c) 17 23 
Under Blue Skies, 4 acts, 2 

hrs (35c) 7 10 

Way Down Along, Prologue 

and 2 acts, 2 hrs (35c) 7 3 

When Smith Stepped Out, 3 

acts, 2 hrs (50c) 4 4 

When the Clock Strikes Twelve, 

3 acts, 2^4 hrs....... (35c) 8 20 

Whose Little Bride Are You? 

3 acts, 21/4 hrs (50c) 5 5 

Winning Widow, 2 acts, 1^ hrs. 

(25c) 2 4 

Zarae'ueta. 2 acts. 2 hrs. ..(35c) 7 4 



T. S. DENISON &COMPANY, Publishers, 623 S. Wabash Ave. .Chicago 



BREAD, BUTTER AND 
ROMANCE 



A COMEDY IN ONE ACT 



BY 

MARY MONCURE PARKER 

AUTHOR OF 

Mrs. Hoops-Hooper and the Hindu," "The Old Oaken Bucket, 

"Shadotvs," "Jolly Monologues," "Merry 

Monologues," etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



BREAD, BUTTER AND ROMANCE 



FOR ONE MAN AND THREE WOMEN 



CHARACTERS. 

Maisie With a Taste for Romance 

Maggie A Neighborly Neighbor 

Hagar A Gypsy Fortune-Teller 

Manuel '. A Romantic Vagabond 



Scene — The Living Room in Maisic's Home. 



Time — The Present. 



Time of Playing — About Tzvcntv Minutes. 



COSTUMES AND CHARACTERISTICS. 

Maisie — A young girl of romantic disposition. Wears 
a simple house dress and dainty coverall apron. 

Maggie — An older woman, with a warm Irish heart and 
a sense of humor. Wears bonnet and shawl, with a fan- 
tastic costume that carries out the humorous idea of the 
character. 

Hagar — A young gypsy woman. Wears red skirt, black 
bodice, white waist, head-dress of yellow; plenty of beads, 
etc. ; carries tambourine. 

Manuel — A young gypsy man. Wears long or short 
trousers, white blouse, red sash, short black coat, red tie, 
soft black felt hat with brim rolled up on one side, hoop 
earrings, etc. 

COPYRIGHT, 1922, BY MARY MONCURE PARKER. 

2 



BREAD, BUTTER AND ROMANCE 3 

NOTES ON STAGING. 

The cast may be formed with four women, if desired, one 
taking the part of Manuel, the gypsy man. 

The play will be more effective with a song and a violin 
accompaniment, only one verse to be sung on the stage. 
There should be no encore, as this interrupts the action. 
If the performers cannot sing and play, the music may be 
given in the wings, omitting the lines in the dialogue which 
introduce the song on the stage. 

As a musical number suitable for this purpose, "Jolly 
Gypsies" is recommended. It can be had, with complete 
words and music, from the publishers of this play, for 
35 cents postpaid. 

"Bread, Butter and Romance" has been produced in 
Chautauqua with immense success, and may be easily pre- 
sented on any platform without special scenery. 



PROPERTIES. 

Table, three chairs, table cover, telephone, book, tea tray, 
tea pot, cups and saucers, ring for Maisie, pocket-book with 
money for Maisie, handkerchief for Maisie, pocket-book 
with money for Maggie. 



STAGE DIRECTIONS. 

Up stage means away from footlights ; dozvn stage, near 
footlights. In the use of right and left, the actor is sup- 
posed to be facing the audience. 



BREAD, BUTTER AND ROMANCE 



Scene: The living room in Maisie's home. A door al 
the right is supposed to lead to another part of the house, 
and a door at the left is the entrance from outside. There 
is a living room table in the center of the room with a chair 
on either side, and another chair at the left. The table is 
covered zvith a spread, and on if are a telephone and a 
novel. The room may be further fitted as the director 
wishes, with properties that are simple and in good taste. 

As the curtain rises, the room is empty. Maisie enters 
from the right, humming the air of some popular song. 
She carries a tray with a pot of tea, tea cups and saucers. 
She puts the tray on the table and sits right of table. She 
picks up the novel and begins to read. The felepJione rings 
three times before she hears it. Then she picks up the re- 
ceiv^er, regretfully taking her gaze from^ the book. 

Maisie (to phone). Hello? * * * Hello? * * * Oh, 
you'll give me one guess? * * * Let's see. Tom Browne? 

* * * Ed Smith? =«= * * Charlie Jones? * * * (Laughing.) 
There, Jack. Don't get peeved. -Of course I know^ who it 
is." * * * I was only teasing. * * * Well, I couldn't answer 
right away. I was reading the loveliest book, called "The 
Gypsy Queen's Revenge." * * * (Annoyed.) Now you 
needn't make fun, Jack Roberts. It's a perfectly darling 
book. * * * I didn't say it that way. You haven't one bit of 
romance in your system. * * * What? Romance doesn't go 
far at the corner grocery? * * * Well, all you care about 
is bread and butter. I'm changing my mind about you. * 

* * We aren't suited to each other. You like bread, and 
I like romance. * * * What? I ought to be a gypsy? 
Well, I would like to be. * * * What did you say? * * * 
There's a band of gypsies in town ? I know, and I think they 
are charming. * * * What? I ought to have a gypsy sweet- 
heart ? Well, you ought to marry Susie Brooks. Goodness 



BREAD, BUTTER AND ROMANCE 5 

knows she's unrO'mantic enough. You have been talking 
with her at the Post Office corner — stood there half an 
hour. * * * You did, too. Several people saw you and 
told me about it. Why don't you marry Susie? ^^ * * 
What? * "^^ * Your father is going tO' give you a position 
in the Wholesale Bakery? No, Jack, I've made up my 
mind. We aren't suited to each other. I love trees and 
moonlight and flowers, and you care for nothing but bread. 
You don't care for romance at all. We quarrel all the 
time. * "^ * What do I mean? I'm breaking my engage- 
ment, that's all. I'll lay your ring right here on the table. 
You^can have it any time you wish. {Puts ring on table.) 
There ! You might marry Susie Brooks. She'll bake bread 
for you. Goodbye. {Hangs up receiver, rises, and cries.) 
Well, it's all over. I always feel so tragic when I break 
an engagement. That's the third one. {Picks up ring.) 
It wasn't a very pretty ring. But Jack was nice, though. 
{Puts ring dozen on table.) 

Maggie enters from the left. 

Maggie. How air ye, darlin' ? What's the matter ? You're 
lookin' sad. {Comes to left of table.) 

Maisie. No, I'm very happy. {Sobs and sits right of 
table.) 

Maggie. Happy? I saw Mr. Jack coming out O'f a 
grocery store a while ago. Ye haven't quarreled, have ye ? 

Maisie. We have just decided to part forever, and I'm 
very happy. {Rises and crosses left, crying.) 

Maggie {crossing right in front of table). Happy, is 
it? Accordin' to that I ought to be laughin' mesilf sick at 
me own swateheart's funeral just to show me misery. Not 
but what there's funerals that would tickle me to death, I'll 
tell ye thot. 

Maisie. But Maggie, Jack and I are not suited to each 
other. He loves bread, and I love romance. I hate this 
humdrum existence — get up in the morning, dress, eat, work 
around a little, eat, work some more, eat and then go to 
bed. I just exist — that's all. 



6 BREAD, BUTTER AND ROMANCE 

AIaggie. Sure, that's better than dyin'. (Crosses left.) 
There, there! You're just feehn' bhie because your mother 
went away. That's why I came over to see how you were 
gittin' along while she was on her trip. 

Maisie. It isn't that, Maggie. I'm glad she could go. 
She needed the rest. 

Maggie. Sure, I'll tell ye what. Have a cup of tay 
(turns to the table). It's very soothin', a cup of tay. 

Maisie. No. 

Maggie. Yes, dear. (Pours out the tea.) 

Maisie. Well. (Sits left of table, takes tea cup and sips.) 
Oh, Maggie, the tea is cold. 

Maggie (starting tozcard right). I'll make some frish tay. 

Maisie. No, I don't want any — thank you. 

Maggie. Well, I'll take some of this mesilf. (Sits right 
of table.) Maybe I'll be seein' your swateheart come back 
to you in the tay grounds. (Maisie shakes her head.) 
WeW, maybe I'll be seein' a new swateheart for you. 

Maisie. Oh, Maggie, I saw the handsomest man down 
by the brook the other day. He was a gypsy. 

Maggie (exclaiming). A gypsy! God save us! (Sets 
dozvn her cnp imth a bang in the saucer.) 

Maisie. Yes, he told me how charming I was, and he 
wanted me to roam the world with him. 

Maggie. Sure, your fate would get awful tired roaming 
the world with a gypsy. 

Maisie (rising). He wanted me to fly with him. 

Maggie (jumping up). Did he have an airship? 

Maisie. No, no. You don't understand. That's only 
a figure of speech. Oh, I'd love to be a gypsy and roam all 
day out under the blue skies. 

Maggie. Well, the skies ain't always blue. Sometimes it's 
rainin' cats and dogs and a few pigs. 

Maisie. Oh, I love the great out-of-doors. I adore life — 
and color — and beauty. 

(Music of gypsy song and ziolin is heard outside. Maisie 
and Maggie listen, then run to center, up stage.) 



BREAD, BUTTER AND ROMANCE 7 

Maisie (looking out of left door). Oh, Maggie! It's 
the gypsies, and the handsome one I saw yesterday. Let 
us hide and see what they will do. (They exeunt right.) 

Hagar and Manuel enter from the left. 

Hagar (calling). Tell your fortune — tell your fortune — 

Manuel. No one in here. 

Hagar. You cannot be too sure no one in here. 

Manuel (goes to table and tastes tea). Bah! Tea — and 
cold ! 

Hagar. I tell you what we do. We play moosic and 
then we see if any one here. If no oiie here, we look around : 
maybe we get money. 

Manuel. The idea it is good. 

(He plays violin and she sings a z^erse of gypsy song. 
At close of song Manuel is right and Hagar is left.) 

Maisie and Maggie enter right. 

Maisie. Oh, that was beautiful — and so romantic ! 
Hagar. Tell your fortune — tell your fortune. 
Maisie (eagerly). Oh, yes. 
Hagar. Cross my palm with silver. 

(Maisie goes for her pocket-hook on table.) 

Maggie. Say, that's an awful pretty dress you have on. 
I'd like one like it. 

(Maisie crosses left to Hagar,, ztrho accepts coin and 
takes her hand.) 

Hagar (reading Maisie^s palm). I see two young men; 
one is fair. You quarrel ; he turns away. I see a great 
building with many men and women working — 

Maisie (interrupting). Jack's father's bakery! Can I 
never get away from bread ? 

(Manuel, spying pocket-hook, crosses back of table, 
takes up pocket-book and examines it.) 

Hagar (to Maisie). You do not like great building. You 
shudder and turn away. 



8 BREAD, BUTTER AND ROMANCE 

(Maggie discovers Manuel and grabs the pocket-book 
from hint. He shrugs his shoulders and turns back right. 
This by-play is unnaticed by Maisie.) 

Hagar (to Maisie, continuing). I see a dark young 
man and a running brook. (Maisie and Manuel exchange 
glances.) You run about in the woods. Then the forest 
grows dark, night falls, and you are left alone. 

Maggie (crossing right). Ah, don't be lavin' the darlin' 
alone in the forest ! Git her out some way. 

Manuel (snaps). Bah! 

Maggie (mimicking him). '*Bah !" Ain't you a scrame in 
thim clothes? That's an awful pretty sash you have on. 
But it looks quare to see a mon wearin' a sash. Excuse me 
for laughin'. (Laughs heartily.) 

Hagar (to Maggie). Tell your fortune? 

(Maisie crosses to center, back of table.) 

Maggie (crossing left to Hagar). Sure, I'd like you to 
tell my fortune. But don't be lavin' me alone in the forest. 
I'm kind o' nervous, loike. 

(Manuel crosses center, back of table, to Maisie.) 

Hagar. Cross my palm with silver. 

Maggie. You mean you want some money? 

Hagar. Yes. 

Maggie. I'll see what I have. (Crosses right, follozved 
by Hagar.) I'll tell you what I'll do. You tell my fortune 
and I'll give you the money. I'd rather play safe wid you. 

(Maisie and Manuel cross left and sit dozun. He makes 
love to her.) 

Hagar (to Maggie). You're Irish. 

Maggie. How did you ivcr know thot, mum? Straight 
from the Imerald Isle I came, and God knows I hated to lave 
me old fayther and mither. 

Hagar (looking at Maggie's palm). I see a cabin and 
an old man. 

Maggie. That's me fayther. God bliss him. Do you 
see me mither? 



BREAD, BUTTER AND ROMANCE 9 

Hagar (looking at palm). I see an old woman. 

Maggie. Thot's me mither. Lord love her. Do you see 
me sister Kate? 

Hagar {looking at palm). I see a girl with red hair. 

Maggie. Thot's Kate — long life to- her. 

Hagar (lookiiig at palm). You have a long life line. 

Maggie. My grandfayther died at the age of 106. How 
did ye know me family was such long livers ? 

Hagar (looking at palm). You have a big fate line. 

Maggie. Sure, I know I have awful big sized fate, but 1 
didn't think you could tell thot in me hand. (Laughs.) Is 
there somewan else you see, mum? (Turns coyly from 
side to side and smiles.) 

Hagar (looking at palm). I see a young man. 

Maggie. Thot's Terry, mum. He's a butcher, but he's 
goin' to be a policemon, and thin — 

Hagar (looking at palm). Oh, I see a church and a 
great many people. It's a wedding. 

Maggie. It's me and Terry, mum. I always hoped we 
might get married, mum. I'll tell Biddy and Mary, me 
friends, about that, mum. 

Hagar (looking at palm). You have two girl friends. 

Maggie. Sure. Biddy and Mary. How did you know, 
mum? I'll have thim come have their fortunes told — that 
is, if I can iver get away from the auld hen I'm workin' 
for. 

Hagar. I see you're above your station. You should 
have been a great actress, or a singer. 

Maggie. Yis, mum. I've often thought I'd like to be 
won of thim moyie actresses, mum. Ivry wan says I look 
like [some popular picture star), mum. 

Hagar. Money, please ; fifty cents. 

Maggie (takes money from pocket-book). Sure, that's 
chape, mum. (Gives her money. Sees Manuel and 
Maisie.) Oh, Lord love us, look at that! 

Hagar. Manuel! We go. (Maisie a/icf Manuel r/^^.) 

Maisie (eagerly). Oh, take me with you! I want to be 
a gypsy. 



10 BREAD, BUTTER AND ROMANCE 

Hagar. You? No, no. (Pushes Maisie asidc^ and 
crosses left to Manuel.) So, you have been busy again. 
I cannot take my eyes from you. And you (turns to 
Maisie) — you are in love with Manuel? 

Maisie. Yes. He wants me to fly with him. 

(Maggie crosses to Maisie.) 

Hagar. To fly with him ! So' — one, two, twenty girls 
would fly with Manuel. No ! Manuel have no airship 
(laughs, scornfully). You stay on the ground (angrily). 
I alone fly with him. I am his wife. 

Maisie. His wife! 

Hagar (coming at Maisie). I scratch the eyes out of 
any girl who take Manuel from me! 

(Maggie holds Maisie protcctingly.) 

Maisie His wife! (Crosses to Manuel.) Oh, Manuel, 
how could you ? 

(Manuel turns away up stage.) 

Maggie (crosses left to Maisie). Oh, don't mind them 
old gypsies. They're good for nothing. 

(Manuel takes Maisie's purse and ring from the table, 
unperceived by Maisie and Maggie, and exits left.) 

Hagar (at rigJit). Ha, ha! Storm come, \oung lady 
left alone. I tell your fortune another day. Goodbye. (E.r- 
its left.) 

Maggie. Go along wid you. 

Maisie. Oh, Maggie, all my romances are bursting like 
soap-bubbles. 

Maggie (putting her arms around Maisie). Don't be 
wapin'. I niver yet saw the man worth wapin' for. 

Maisie. But I sent Jack away, and he was good and 
kind. I wish he'd come back. 

Maggie (starting left). I'll go and see if I see him 
anywhere. 

Maisie (catching her arm). No, no. Don't tell him. 
I'd die of mortification. 



BREAD, BUTTER AND ROMANCE 11 

Maggie. Maybe he'll be comin' back. 

Maisie. No, I'm afraid not. 

Maggie. Maybe he'll be comin' back to git the ring. 

Maisie. Yes; the ring — {They turn to the table.) Where 
is the ring? (They search.) 

Maggie. Yes, where's the ring ? Oh, thim thavin' gypsies 
took it! 

Maisie. Oh, what will I do? 

Maggie (picks up phone). Now you'll have to call 
him. 

Maisie. I can't. I can't! 

Maggie (urging). Go on. 

Maisie (tearfully) . No, I can't. 

Maggie. All right. I'll call him myself. (Takes phone 
and talks in a loud voice.) Hello! Give me 1-2-3-4 Main. 
* * * 1-2-3-4 Main— The Universal Bakery. =i^ * * j^ m^ 
Jack Roberts there? 

Maisie (excitedly). Oh, Maggie, is he there? 

Maggie. Hello. * * * ig this Mr. Roberts? * '^ * (Tivists 
in a coy way.) Did you think this was your swateheart 
talkin' to you ? * * * No, it ain't ; but she's right here. 

Maisie (excitedly). No, no, Maggie! 

Maggie (in a loud voice). No, she ain't here, but she's 
feelin' awful bad. * * ^ Sure, some thavin' gypsies stole 
that ring you gave her right off the table and she wants 
you to give her another one. 

Maisie. Oh, no, no, Maggie! 

Maggie (in a loud, excited voice). No, she don't. But 
come over and make up. She's been cryin' for ye all day. 

Maisie. Oh, Maggie — 

Maggie. Here, take this phone yourself. I'm gittin' 
it all mixed up. (Forces Maisie to take phone.) 

Maisie (to phone). Hello, Jack. * * * What? ^ * * 
You're coming right over? * * =«= What? With another 
ring? * * * A diamond? (Looks at Maggie delightedly.) 
Oh, Jack I * ^ * Yes, you'll be right over. Do come. 



12 BREAD, BUTTER AND ROMANCE 

(Puts up receiver and catches Maggie's hands.) Oh, 
Maggie, it's all right! He's coming right over, and I'll go 
and put on my pink dress. (Runs out right.) 

Maggie. Well, I'll come and hook you up. It's all right, 
God bless us! (Exits right.) 

Curtain. 



DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free 



FARCES, COMEDIETAS, Etc. 
Price 2S Cents Each 

M. F. 

All on a Summer's Day, 40 min. 4 6 
Aunt Harriet's Night Out, 35 

min 1 2 

Aunt Matilda's Birthday Party, 

35 min. , 11 

Borrowed Luncheon, 20 min.. 5 
Case Against Casey, 40 min... 23 

Doo-Funny Family, 1 hr 3 9 

Fun in Photo Gallery, 30 min.. 6 10 

Getting Rid of Father, 20 min. 3 1 

Goose Creek Line, 1 hr 3 10 

Great Pumpkin Case, 35 min.. 12 

Hans Von Smash, 30 min.... 4 3 

Honest Peggy, 25 min 8 

Irish Linen Peddler, 40 min... 3 3 

Irish Stew, 1 hr 6 4 

Just Like a Woman, 35 min... 3 3 

Me and Betty, 30 min. 2 5 

Men Not Wanted, 30 min.... 8 

Mother Goose's Goslings, 30 m. 7 9 
Mrs. Hoops-Hooper and the 

Hindu, 35 min 12 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

Not a Man in the House, 40 m. 5 

Paper Wedding, 30 min 1 5 

Pat's Matrimonial Venture, 25 

min 1 2 

Rummage Sale, 50 min 4 10 

Sewing for the Heathen, 40 

min 9 

Shadows, 35 min 3 4 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

min 7 3 

Too Much of a Good Thing, 45 

min 3 6 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 
Watch, a Wallet, and a Jack of 

Spades, 40 min 3 6 

Whole Truth. 40 min 5 4 

Who's Crazy Now? 25 min 3 2 

Who's the Boss? 30 min 3 6 

Wrong Baby, 25 min. v 8 

FARCES, COMEDIETAS, Etc. 
Price 15 Cents Each 

April Fools, 30 min 3 

Assessor, The, 15 min 3 2 

Before the Play Begins, 15 

min , 2 1 

Billy's Mishaps, 20 min 2 3 

Country Justice, 15 min 8 

Family Strike, 20 min 3 3 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Great Medical Dispensary, 30 m. 6 
Initiating a Granger, 25 min.. 8 

Kansas Immigrants, 20 rain... 5 1 

Pair of Lunatics, 20 min 1 1 

Pat. the Apothecary, 35 min.. 6 2 



Second Childhood, 15 min 2 2 

Smith's Unlucky Day, 20 min.. 1 1 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. .44 
Troubled by Ghosts, 10 min... 4 

Two Aunts and a Photo, 20 m. 4 

Wanted: A Hero, 20 min 1 1 

Wide Enough for Two, 45 min. 5 2 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min 1 1 

At Harmony Junction, 20 min. 4 

Cold Finish, 15 min 2 1 

Fresh Timothy Hay, 20 min.. 2 1 

Hey. Rube! 15 min 1 

I'm a Nut, 10 min 1 

It Might Happen, 20 min 1 1 

Little Miss Enemy, 15 min.... 1 1 

Little Red School House, 20 m. 4 

Marriage and After, 10 min.. 1 
One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 min 2 

Pete Yansen's Curl's Moder, 10m. 1 

Quick Lunch Cabaret, 20 min.. 4 

School of Detecting, 15 min... 2 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Street Faker, 15 min 3 

Such Ignorance, 15 min 2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min.... 2 

Vait a Minute, 20 min 2 

BLACK-FACE PLAYS 
Price 25 Cents Each 

African Golf Club, 25 min 10 1 

Almost an Actor, 20 min 2 

Axin' Her Father, 25 min 2 3 

Battle of Roaring Bull, 30 min.. 11 
Battle of Rollin' Bones, 30 min. 8 

Black Vamp, 15 min 2 2 

Booster Club of Blackville, 25 

min 10 

Cash Money, 20 min 3 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 m... 1 1 
Coontown Thirteen Club, 2Sm.l4 

Dark Secret, 30 min 4 1 

Fu'st Aid to Cupid, 20 min... 3 2 
Good Mornin', Judge, 35 min.. 9 2 
Hitting the African Harp, 

15 min 2 

Hungry, 15 min 2 

Kiss Me, Camille, 20 min 2 1 

Mysterious Suitcase, 15 min... 2 
Oh, Doctor! 30 min 6 2 

A great number of 

Standard and Amateur Plays 

not found here are listed In 

Denlson's Catalogue 



T.S.DENISON & COMPANY, Publishers, 623$. Wabash Ave., Chicago 



1-822 



LIBRftRY OF CONGRESS 



POPULAR ENTERTA 

Price, Illustrated Paper C< 



pVERY feature of the entertainr 
series. The books are finely ma 




015 910 160 5 # 

print, and each book has an attractive individual cover design. 



DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues for Rural Schools. 

Excellent new material. 
Friday Afternoon Dialogues. 

Over 70,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
Wide Awake Dialogues. 

Original, successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 
Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 35c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 
Drills that sparkle with originality. 



Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Tilings for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Schoolroom Entertainments. 

Humorous, yet instructive. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christinas collection. 

MINSTRELS 

When Cork Is King. 

End gags, monologues, sketches. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland,viathe Ha-Ha Route. 

A merry trip for fun tourists. 
How to Stage a Minstrel Show. 

A handbook of great value. 

Larse Illustrated Catalogue Free 



T.S.DENISON & COMPANY,Publishers,623S.Wabash Ave., Chicago 



